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With the lack of any substantive news about Bond 25, 007 fans are wondering if the next James Bond movie can make a 2018 release.

Here’s a key date that could tell the tale, even if it’s not a precise one.

If — and that’s a big if — a first draft script is delivered in the spring of 2017, then a 2018 release for Bond 25 could still happen.

With SPECTRE, released in the fall of 2015, scribe John Logan told Empire magazine in March 2014 that the first draft was “almost done.”

The script went through a lot of changes after that — including reworking by the likes of Neal Purvis, Robert Wade and Jez Butterworth. Still, there at least was a starting point.

The problem is nobody outside of Eon Productions knows whether anybody is actually working on a Bond 25 script at this point.

Logan’s hiring to write what would become SPECTRE was announced in November 2012. That was the same month Skyfall was released in the United States.

Originally, Metro-Goldwyn-Mayer disclosed that Logan was hired to write two 007 movies, but that plan was later scrapped — in part to lure Skyfall director Sam Mendes back for SPECTRE.

No announcement has been made concerning a writer or writers for Bond 25.

With the lack of any official news, fans have looked for any tidbits, even rumors. For example, THIS REDDIT POST by someone who knows “people in London who work in the film industry” caused a buzz on some 007 message boards this week.

One change of note, compared with Skyfall’s Oscar campaign. Here, Sony suggests SPECTRE’s scribes of John Logan, Neal Purvis, Robert Wade and Jez Butterworth as worth of “Best Original Screenplay” consideration.

Three years ago, Logan, Purvis and Wade were promoted for “Best Adapted Screenplay” for Skyfall.

Skyfall ended up with five nominations, the most for any Bond film. It won two, including Best Song.

Sony’s contract to distribute Bond movies for Metro-Goldwyn-Mayer expires with SPECTRE. MGM will either reach a new agreement with Sony or sign with another studio.

A shout out to “Gustav Graves” on the message board of the MI6 James Bond website for pointing out the website.

SPOILERS AHEAD!
No analysis of the chronicles of SPECTRE would be complete if we didn’t examine the latest James Bond outing, SPECTRE, the fourth 007 film starring Daniel Craig and the second directed by Sam Mendes.

Back in December 2014, when the film title and cast were announced, Mendes told the press that Bond fans “knew what it was about” as the title was revealed. It indeed featured the old Bond nemesis, the organization Sean Connery and George Lazenby’s portrayals of 007 fought in the 1960s, the one lead by Ernst Stavro Blofeld with Dr. No, Emilio Largo, Rosa Klebb and Fiona Volpe as proud agents loyal to the cause.

But of course, much like the classic Bond elements and characters throughout these four Daniel Craig entries, the organization has been rebooted and adapted to the 21st century.

James Bond kills Marco Sciarra, an Italian SPECTRE agent operating in Mexico, where he planned to blow up a stadium. Bond attends Sciarra’s funeral in Rome. Bond meets Sciarra’s widow, Lucia (Monica Bellucci). The woman leads 007 to a meeting at the Palazzo Cardezza, where Sciarra’s replacement is discussed.

Harkening back to the SPECTRE board meeting in Thunderball and the Blofeld’s briefing with Rosa Klebb and Kronsteen in From Russia with Love, the organization leader joins the meeting as the members stand up in respect.

Back in 1965, SPECTRE had to steal atomic bombs or start a war to rule the world. In 2015, this new SPECTRE attempts to control the intelligence services worldwide through the Nine Eyes program championed by Max Denbigh (Andrew Scott). Denbigh is also known as C and is the leader of MI5 –- now merged with MI6 –- and a headache for M (Ralph Fiennes) and Bond.

Under the argument that the 00 section is obsolete and new technology and drones can do the same job a man can and better, C convinces the head of nine intelligence services from across the world to join the integrated network. Many of the services were “convinced” after some terrorists attempts occurred in their countries, perpetrated, of course, by SPECTRE. One of them was Sciarra’s ill-fated plan to blow a Mexican stadium during the crowded “Day of the Dead” celebration.

“World domination, the same old dream,” James Bond said when Dr. Julius No explained his plan to topple American rockets from Cape Canaveral to dominate the world.

The same old dream is back with a twist now. Worldwide domination is, this time, more subtle. It will be achieved through moles in the intelligence services and by having SPECTRE controlling everything.

It’s fair to assume the redefinition of SPECTRE for these times has been done in a brilliant way.

Guerra, a Spaniard member, offers to take up the late Sciarra’s assignment: eliminate a certain “Pale King.”

Another agent, the muscular Mr. Hinx, shows the leader he’s more suitable for the job. Hinx blinds Guerra with his thumbs and breaks his neck. At this point, 007’s cover is blown by the leader himself: Franz Oberhauser (Cristoph Waltz), his foster brother.

Later, James Bond is captured by the villain while visiting his lair inside a crater in Morocco, the control center for the Nine Eyes program. The SPECTRE chief provides 007 a painful torture taken from the pages of Kinglsey Amis’ Colonel Sun 007 continuation novel. As a white Persian cat approaches the captive secret agent, Oberhauser reveals his new name: Ernst Stavro Blofeld.

Cristoph Waltz’s incarnation proves to be the perfect adaptation of the mastermind for the 21st century: sinister, deadly, shadowy and creepily funny at the same time. Forty-eight years after Donald Pleasance showed his bald and scarred face to Connery’s Bond inside that volcano lair in Japan in You Only Live Twice, Waltz is equally cold-blooded and reminiscent as the iconic villain.

This time, the screenwriters (John Logan, Neal Purvis & Robert Wade and Jez Butterworth) added a twist. This Blofeld is Bond’s foster brother. This Blofeld killed his father (Hannes Oberhauser, whose connection with the young 007 can be read in Ian Fleming’s Octopussy short story) in revenge for the latter’s preference for the “orphan with the blue eyes.”

Through this series of essays we saw how, after Thunderball, Blofeld eclipsed SPECTRE as the main villain.

In this case, the new Blofeld is linked to the events of the three first Craig films with villains Le Chiffre, Dominic Greene and Raoul Silva being agents of SPECTRE. The terminally ill Mr. White was a high ranking member who disobeyed Blofeld and now he’s hiding on his Austrian retreat.

The dialogue between Bond and his old enemy exposes how threatening this new SPECTRE is.

It has no compunction in killing innocent relatives of their targets or former associates –- White’s daughter Madeleine and Sciarra’s wife Lucia, for example.

And, in the same way Telly Savalas’ Blofeld was responsible for Tracy’s death at the end of On Her Majesty’s Secret Service, Waltz’s Blofeld declares himself as “the author” of all of Bond’s pain by showing his implication with the demise of Vesper Lynd and (Judi Dench’s) M.

“My wounds will heal, what about yours? Look around you James: everything you stood for, everything you believed in… are ruined,” Blofeld points out revealing a scar affecting his right eye –- Bond’s doing during his escape from his imprisonment in Morocco.

SPECTRE has been redefined in an exceptional way for this new era. The “four cornerstones of power” under the acronym weren’t mentioned, and as a matter of fact one of the script drafts linked the name to a platoon integrated by Oberhauser and Mr. White during their wartime activities.

Nevertheless, this new SPECTRE deals with counterintelligence, terrorism and revenge. The Nine Eyes is the organization’s way of infiltrating the worldwide secret services while using terrorist attacks to convince those nations undecided to join C’s network. On the other hand, its leader has a personal vendetta against 007.

To those who wondered why the previous Bond villains looked a bit weak, the answer is in the return of threatening organization and 007’s greatest nemesis of all time: Ernst Stavro Blofeld.

The review will have a spoiler after the ninth paragraph. There’ll be a warning before that begins.

SPECTRE, the 24th James Bond film, attempts to blend “classic” and 21st century Bond style.

For much of the movie, the Sam Mendes-directed movie succeeds. It’s two-thirds an excellent James Bond film. During that portion it mostly mixes early Bond movie escapism, introduces more humor without going overboard and still retains the more dramatic emphasis of the Daniel Craig era.

However, the last third is more exhausting than exhilarating. Like many action movies today, it’s too long and could stand some tightening. The last third isn’t bad by any means, but it loses the momentum of the first two-thirds.

Last year’s hacking at Sony caused many details — including complete script drafts — of a hectic scripting process to become public. The final story line (credited to a tag team of John Logan, Neal Purvis, Robert Wade and Jez Butterworth) is smoother than most who read that material would have guessed.

SPECTRE, though, still has rough spots. When the lead woman character, Dr. Madeleine Swann (Lea Seydoux) falls in love with Bond, it seems forced. She’s convincing when she says she’ll try to kill Bond if he comes close to her. She’s less so when she warms up to him. Swann is to supposed to be “the one” to make Bond get over Vesper Lynd from Casino Royale. For the Spy Commander, doesn’t really seem that way.

Some reviewers have criticized SPECTRE’s increased humor, saying it’s too much like a Roger Moore film. Actually, it’s more like an early Sean Connery 007 film. The humor in SPECTRE is very much in line with Connery humor (“Sergeant, make sure he doesn’t get away,” Connery/Bond says in Dr. No, referring to the dead “Mr. Jones” in a car’s back seat).

Craig doesn’t engage in overt puns but humor arises from situations. Ben Whishaw’s Q actually gets one of the best of the humorous lines when he refers to Bond’s penchant for destroying vehicles. Meanwhile, Craig’s humor content comes from situations such as when he’s being ridiculously respectful (but not jokey) to M (Ralph Fiennes) after going rogue (again) in the movie’s pre-titles sequence.

Christoph Waltz is fine as the movie’s villain (more about that in the spoiler section). Having a top-notch opponent always helps a Bond film.

Among the crew, cinematographer Hoyte Van Hoytema delivers big time after many fans had expressed worry when Skyfall’s Roger Deakins opted not to return. Composer Thomas Newman is adequate, but he actually recycles some of his Skyfall score. The music is reasonably effective but a Newman 007 score is like watching a man wearing clothes that aren’t his size. Action movies aren’t his forte.

Spoiler section follows. Last warning.

SPECTRE is built around the “reveal” that Waltz’s Franz Oberhauser is really …. ta DA DAAAAA….Ernst Stavro Blofeld.

Seriously. A movie called SPECTRE’s “spoiler” is that the organization is headed by Blofeld. That’s like making a Sherlock Holmes movie where the villain is revealed to be Professor Moriarty. Or a Superman movie where the villain is revealed to be Lex Luthor.

Old-time Bond fans are (rightfully) going to be skeptical when the filmmakers act like this is a big secret. New Bond fans won’t really care, they just want to see a good villain.

Now, if the film had been structured so Waltz’s character was a flamboyant front man and Blofeld turned out to be someone else, that’d be fine, or at least understandable. But Mendes and his scribes spend more time on this than is necessary.

Mendes has said the audience can’t know more than the characters. Yet, in From Russia With Love the audience knew more than Connery/Bond (though not everything, of course) and that film worked just fine.

Meanwhile, there’s also the reveal that Blofeld was Bond’s foster brother (sort of). That’s very similar to the way the Hawaii Five-0 television series rebooted arch villain Wo Fat to have a personal hatred of Steve McGarrett. It also inches dangerously close to Austin Powers/Dr. Evil territory. Thankfully, it doesn’t go that far.

End spoiler section.

Whatever SPECTRE’s flaws, they can mostly be overlooked, at least until the movie is over and the viewer is headed out of the theater. The movie shows “classic” Bond still has something to offer as it is adapted to the 21st century. GRADE: B-Plus.

By Nicolás Suszczyk,
Guest Writer
How time flies! It was ten years ago we saw Daniel Craig rushing the Thames River on a speedboat to meet the press during his announcement as the new James Bond, on Oct. 14, 2005.

Casino Royale, set for November 2006, had many challenges: introduce a new Bond actor, reboot the series and provide a good balance between the action scenes the book lacked and the drama content that filled the pages of Ian Fleming’s first novel, published in 1953.

Directed by a familiar face, GoldenEye’s Martin Campbell, the film was the target of a lot of criticism concerning the new face of 007.

Craig, then 37, had a hard time when production started: a website boycotting him plus tabloids calling him “James Bland.” He seemed far different from Pierce Brosnan’s suave portrayal of the British spy, last seen in 2002’s Die Another Day, a movie that went too far with CGI effects and overly seen clichés.

However, the 2006 film proved to be a great box office hit and the press had to admit its misjudgment of Craig’s portrayal. The actor showed us a strong and fearless Bond. Lethal but equally weak and romantic, Craig’s Bond fell in love and tragically lost Vesper Lynd, the female lead of the movie played by Eva Green.

In Casino Royale, Craig’s 007 could balance Sean Connery’s ironies with Timothy Dalton’s violence, as well as bringing to screen a modern sense of humor. “Do I look as if I give a damn?” he says when asked if his drink should be shaken or stirred, or cuts M off the phone after interrupting her for an “urgent” call. Indeed, this was the Bond the 21st century needed.

Campbell’s crew
Much of the 2006 film success came, of course, by the expert hand of director Campbell and his crew: veteran cinematographer Phil Méheux, editor Stuart Baird, composer David Arnold and the second unit directed by Alexander Witt (who returned in Skyfall and now in SPECTRE).

Martin Campbell, director of GoldenEye and Casino Royale.

Not to mention the cast selected by Debbie MacWilliams: Eva Green contrasting the original Vesper from Fleming’s book with a self-confident and seductive character that falls for the spy; Mads Mikkelsen bringing up a young and debonair Le Chiffre; and Giancarlo Giannini and Jeffrey Wright bringing to life to René Mathis and Felix Leiter, 007’s allies in the novel.

The film wasn’t a success because it was a Bond film, but because it excelled in showing us “how James became Bond,” as the audience exploded into an applause when getting the classic “Bond, James Bond” introduction spoken by Craig in the film’s last minutes.

‘Direct sequel’
In 2008, Daniel Craig returned for the much anticipated Quantum of Solace, conceived as a “direct sequel” of Casino Royale.

Craig provided a fine performance, but the script fails to give the audiences what they wanted: Quantum of Solace was, in result, poor in comparison with Casino Royale, both technically and literary, as the script had to be completed during filming when the WGA strike affected Bond scribes Paul Haggis, Neal Purvis and Robert Wade. Craig said he and director Marc Forster were de facto writers.

The film provides some nice shots of the Italian, Bolivian and Austrian landscapes courtesy of director of photography Roberto Schaeffer, as well as some original and dynamic music by David Arnold. But the story seems dull, uninteresting and full of badly shot scenes with Forster trusting many scenes to his second unit director, Dan Bradley.

Many moviegoers and Bond aficionados felt that the reboot and the idea of bringing up a redefined 007 went a bit too far with the 2008 film, that didn’t gross as much worldwide as its 2006 predecessor.

An original ending, where Bond faced of Mr .White one last time, ended up in the cutting room floor and was replaced by a final scene of the secret agent capturing Vesper’s treacherous boyfriend and throwing her distinctive necklace on the snowy ground.

Bond’s 50th
James Bond wouldn’t return until 2012’s Skyfall.

Once again, Daniel Craig returned as Bond. It was the longest gap between two Bond films with the same actor playing the main role.

As the series celebrated its 50th anniversary, the propaganda machine opted for leaving the Casino Royale and Quantum of Solace story behind and going for a completely different plot in which the secret agent would have to protect M (Judi Dench) from the hands of Tiago Rodrigues aka Raoul Silva, a dismissed MI6 field agent with a desire of revenge towards his former boss.

The first Bond movie directed by Sam Mendes promised a lighter Bond film, with many winks to the first adventures of the series and more humoristic situations: a gadget-laden Aston Martin DB5 and references to an exploding pen, as well as the re-establishment of Q and Moneypenny, left apart after Pierce Brosnan was separated of the role, now played by Ben Whishaw and Naomie Harris.

The idea for Skyfall was, apparently, steering away from the story arc started in Casino Royale and apparently closed in Quantum of Solace. In a very similar case that Goldfinger, Skyfall seems completely unrelated to its two predecessors: the 1964 film didn’t have SPECTRE as the enemy but the self-employed Auric Goldfinger and his plan to irradiate Fort Knox.

The 50th anniversary Bond film proved to be a great success, providing a story balanced between the classic Bond humor with dramatic and violent situations, plus elements taken from the two last Ian Fleming novels: You Only Live Twice and The Man With the Golden Gun.

In a couple of weeks, the 24th James Bond films will hit theatres. It’s simply called SPECTRE, as the old criminal organization led by Ernst Stavro Blofeld.

Eon Productions convinced Sam Mendes to return one more time to the director’s chair, as well as many of his crew members. The base of the script was written by Skyfall’s John Logan, with the return of Neal Purvis and Robert Wade and additional scripting by Jez Butterworth.

The script was leaked shortly after the film was announced on December 2014. While producers claimed it was only an old draft, it is understood that the story inside this leaked script featured many classic elements of the franchise, resulting in probably the most “traditionalist” Craig Bond film.

In SPECTRE, Bond travels from Mexico to London, Rome, Austria and Morocco to uncover the truth behind a criminal organization known as SPECTRE (according to Mendes, this SPECTRE is not an acronym, thus not related to Terrorism, Revenge and Extortion). The organization’s leader, known as Franz Oberhauser (Cristoph Waltz) is someone from Bond’s past and has a vendetta against him.

The film apparently ties the story left over from Quantum of Solace, as 007 meets again with Mr. White, and there are a few connections with Skyfall’s plot. The movie sees the return of Ralph Fiennes as the new M, Ben Whishaw as Q and Naomie Harris as Moneypenny. New characters include Léa Seydoux as Madeleine Swann, Monica Bellucci as Lucia Sciarra, the widow of a SPECTRE assassin, and Andrew Scott as Denbigh, a bureaucrat rival the new M will have to face.

Co-producer
The sixth Bond actor also is as co-producer with Andrew Noakes and David Pope. It is understood that this is due to his collaboration in the making of the film and his strong bond with director Sam Mendes, a closer friend of him since both met during the shooting of Road to Perdition.

Stephanie Sigman, playing Estrella in the upcoming film, said on an interview with News.au that she learned a lot with Craig, since we was very technical with the shooting: “He’s very experienced doing films. He was helping me with how to move with the camera.” On the other side, The Telegraph claims that the British actor saw his films as a big story arc and had the idea of introducing the Bond folklore elements gradually.

It is still unknown if Daniel Craig will return for a fifth Bond: in some interviews he claims he’ll play the character as long as he can while sometimes he points out he’s way too physically tired from playing Ian Fleming’s character.

What is true is that the blonde guy who ten years ago raised some eyebrows as he wore a life vest while being taken on boat to the HMS President vessel for his introduction has made many achievements in the franchise and became a member of the James Bond family.

The official 007 WEBSITE unveiled a new SPECTRE poster, featuring star Daniel Craig in a white dinner jacket as well listing the actor as a co-producer of the 24th James Bond film.

Craig has long been described as more involved in creative matters than other 007 actors. The co-producer credit is a confirmation of that. The other co-producers are Andrew Noakes and David Pope.

To easier read the credits, click on the image and a bigger version should appear.

The poster also disclosed a long writing credit.

The credits for the poster say the screenplay is by “John Logan and Neal Purvis & Robert Wade and Jez Butterworth,” while the plot is by Logan, Purvis and Wade.

Butterworth’s involvement came to light last fall when he was featured in a profile by The New Yorker magazine. The article said Butterworth had also contributed to the script of 2012’s Skyfall.

Butterworth didn’t get a credit for Skyfall. The SPECTRE credit indicates his contribution are greater this time around.

Logan originally wrote SPECTRE solo, but was replaced in the summer of 2014 by Purvis and Wade. The “story by” credit is an indication that Purvis and Wade substantially revamped the story line Logan first submitted in March 2014.

UPDATE: “One more thing,” as Lt. Columbo used to say. Based on the poster, it appears the co-bosses of Eon Productions, Michael G. Wilson and Barbara Broccoli, have opted to not have the “p.g.a.” mark.

That label, or “producer’s mark,” is from the Producers Guild of America, and has been in use since mid-2013 to indicate who the primary producers are for a movie. The guild sought this with the proliferation of producer credits. The mark is voluntary but has been used widely in films the past two years. Apparently, Wilson and Broccoli felt it wasn’t necessary in their case.

Presented strictly for entertainment value: The U.K. Daily Mail IN A GOSSIP COLUMN BY SEBASTIAN SHAKESPEARE posted June 19, claims that SPECTRE star Daniel Craig has been doing some personal rewriting of SPECTRE’s script.

Here’s an excerpt:

I hear that the 47-year-old actor has been rewriting the script of 007’s latest outing, Spectre, even though filming has been going on since December.
‘The script is still all over the place, to the extent that Daniel himself has had a bash at rewriting it,’ says my man with the vodka martinis. ‘It’s total creative turmoil.’

To be clear, the Daily Mail has a journalistic reputation that would be tactfully described as uneven. However, the U.K. publication has published a number of 007 scoops proven to be correct. On the other hand, most of those were written by Baz Bamigboye, who has been MIA (as far as 007 stories are concerned) since SPECTRE went into production Dec. 8.

The only reason we mention this is because SPECTRE has had a dicey scripting process. The first writer was John Logan. Because of the Sony hacking, it’s now known Logan’s initial efforts contained some questionable ideas.

Logan was replaced by 007 veterans Neal Purvis and Robert Wade (something that Bamigboye originally reported last year), with some polishes by playwright by Jez Butterworth.